Fix what’s wrong, but don’t rewrite what the artist wrote. Stick to the official released version — album booklet, label site, verified lyric video, etc. If you’re guessing, pause and double-check.
Respect the structure
Songs have rhythm. Pages do too. Leave line breaks where they belong. Don’t smash things together or add extra empty space just for looks.
Punctuation counts (but vibe-editing doesn’t)
Correct typos? Yes. Re-punctuating a whole verse because it ‘looks better’? Probably not. Keep capitalization and punctuation close to the official source.
Don’t mix versions
If you’re editing the explicit version, keep it explicit. If it’s the clean version, keep it clean. No mashups.
Let the lyrics be lyrics
This isn’t the place for interpretations, memories, stories, or trivia — that’s what comments are for. Keep metadata, translations, and bracketed stage directions out unless they’re officially part of the song.
Edit lightly
If two lines are wrong… fix the two lines. No need to bulldoze the whole page. Think ‘surgical,’ not ‘remix.’
When in doubt, ask the crowd
Not sure what they’re singing in that fuzzy bridge? Drop a question in the comments and let the music nerds swarm. Someone always knows.
The typical waltz form is ABA, but in this piece, it can be analyzed as ABA'B'CA.
The A is the first theme, serves as verses, with one repeat.
The B is the next theme, serving as the chorus. Just like in A, it repeats once.
The accented A (A') is still the same as A, but with a bit of variation, and in this part, it does not repeat. In this part, before it goes to B', it starts using pedal markings.
The accented B (B') is still too, just a slight variation. You can hear in this part that the melody is a bit lacking than the previous, symbolizing the rupture.
The C serves like a bridge, the one with a different theme, symbolizing the memories we have ever had. It repeats once, with "Da capo al fine" added.
Lastly, it goes to A again once just like at first, with no repeats due to "Fine" added.
On the surface, "17325 (Waltz for NDC)" was composed as part of my fourth midterm exam, which was to make a romantic-style waltz, two and a half minutes long, structured to meet the academic criteria. That’s the absolute lens. But beneath the formalism lies something more personal.
The title itself, "Waltz for NDC", is not arbitrary. It’s a quiet dedication, a musical gesture toward others whose presence once shaped my emotional landscape. If you’ve heard "cycling remains", you’ll know that piece carries the raw aftermath of a ruptured bond. This waltz, however, is the echo that follows. It doesn’t grieve aloud; it dances with memory.
I chose the waltz form deliberately. There’s something cyclical about it; the way it turns, returns, and never quite escapes its own rhythm. That mirrors how I felt: emotionally circling back to moments that no longer exist, yet still haunt the edges of my creative process.
So yes, while 17325 fulfills its academic purpose, it also serves as a tribute. A final dance. A way of saying goodbye without words.
Oh yeah, I also just want to add the insight on this second edition of my ISIJK + Me series here, got helped by Copilot for the words.
This second year felt different. The pieces got longer, the emotions heavier. I started the EP with "7924 (a day before my day)", a quiet reflection before my birthday. It’s just 37 seconds, but it holds a lot. That moment before turning a year older always makes me think about where I’ve been and where I’m heading.
"30924 (threed)" was built as a minuet with trio. That’s why I called it ‘threed’. There are no lyrics, just notes, because the ISIJK + Me series is meant to speak through sound alone. It’s my way of letting the music carry the emotion without words getting in the way...for now.
Then there’s "17325 (Waltz for NDC)". NDC is a chronotope I keep returning to. It’s a place, a memory, a feeling. You’ll find it mentioned in "cycling remains" too. This waltz is for that space in my heart that NDC occupies. It’s nostalgic, maybe even a little bittersweet.
The last track, "241224 (Thirdly Harmonized)", is unfinished. I left it that way on purpose, unfortunately, so I only got a half score. After the emotional rupture (summarized in "cycling remains"), I couldn’t bring myself to complete it. It’s raw, unresolved, and maybe that’s okay. Not everything needs closure.
Many listeners have noticed the recurring "NDC" motif in Abu Nailah’s works, especially in "17325 (Waltz for NDC)" and the reimagined one "cycling remains". While Abu has never confirmed its meaning, fans have built different theories around it. Some see NDC as symbolic, like "New Dawn Cycle", while others, like one local interpretation, connect it to Ngijo, Demangan, and Cabean, which are the villages near ISI Jogja where Abu now studies. This ambiguity feels intentional, much like Olivia Rodrigo's unconfirmed love triangle speculation, meaning that both artists set boundaries by leaving space for fans to interpret, turning mystery into part of the art itself.
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Subjective
Enjoyment
Motif
Interpretation
Symbolism
Ambiguity
Artistic Expression
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The typical waltz form is ABA, but in this piece, it can be analyzed as ABA'B'CA.
The A is the first theme, serves as verses, with one repeat.
The B is the next theme, serving as the chorus. Just like in A, it repeats once.
The accented A (A') is still the same as A, but with a bit of variation, and in this part, it does not repeat. In this part, before it goes to B', it starts using pedal markings.
The accented B (B') is still too, just a slight variation. You can hear in this part that the melody is a bit lacking than the previous, symbolizing the rupture.
The C serves like a bridge, the one with a different theme, symbolizing the memories we have ever had. It repeats once, with "Da capo al fine" added.
Lastly, it goes to A again once just like at first, with no repeats due to "Fine" added.
On the surface, "17325 (Waltz for NDC)" was composed as part of my fourth midterm exam, which was to make a romantic-style waltz, two and a half minutes long, structured to meet the academic criteria. That’s the absolute lens. But beneath the formalism lies something more personal.
The title itself, "Waltz for NDC", is not arbitrary. It’s a quiet dedication, a musical gesture toward others whose presence once shaped my emotional landscape. If you’ve heard "cycling remains", you’ll know that piece carries the raw aftermath of a ruptured bond. This waltz, however, is the echo that follows. It doesn’t grieve aloud; it dances with memory.
I chose the waltz form deliberately. There’s something cyclical about it; the way it turns, returns, and never quite escapes its own rhythm. That mirrors how I felt: emotionally circling back to moments that no longer exist, yet still haunt the edges of my creative process.
So yes, while 17325 fulfills its academic purpose, it also serves as a tribute. A final dance. A way of saying goodbye without words.
Watch the official visualizer here: https://youtu.be/qSDowXEPzj0
Oh yeah, I also just want to add the insight on this second edition of my ISIJK + Me series here, got helped by Copilot for the words.
This second year felt different. The pieces got longer, the emotions heavier. I started the EP with "7924 (a day before my day)", a quiet reflection before my birthday. It’s just 37 seconds, but it holds a lot. That moment before turning a year older always makes me think about where I’ve been and where I’m heading.
"30924 (threed)" was built as a minuet with trio. That’s why I called it ‘threed’. There are no lyrics, just notes, because the ISIJK + Me series is meant to speak through sound alone. It’s my way of letting the music carry the emotion without words getting in the way...for now.
Then there’s "17325 (Waltz for NDC)". NDC is a chronotope I keep returning to. It’s a place, a memory, a feeling. You’ll find it mentioned in "cycling remains" too. This waltz is for that space in my heart that NDC occupies. It’s nostalgic, maybe even a little bittersweet.
The last track, "241224 (Thirdly Harmonized)", is unfinished. I left it that way on purpose, unfortunately, so I only got a half score. After the emotional rupture (summarized in "cycling remains"), I couldn’t bring myself to complete it. It’s raw, unresolved, and maybe that’s okay. Not everything needs closure.
@affahimyacght Is this your other Abu Nailah's account or a different person? Just asking though🙌
@affahimyacght Is this your other Abu Nailah's account or a different person? Just asking though🙌
Many listeners have noticed the recurring "NDC" motif in Abu Nailah’s works, especially in "17325 (Waltz for NDC)" and the reimagined one "cycling remains". While Abu has never confirmed its meaning, fans have built different theories around it. Some see NDC as symbolic, like "New Dawn Cycle", while others, like one local interpretation, connect it to Ngijo, Demangan, and Cabean, which are the villages near ISI Jogja where Abu now studies. This ambiguity feels intentional, much like Olivia Rodrigo's unconfirmed love triangle speculation, meaning that both artists set boundaries by leaving space for fans to interpret, turning mystery into part of the art itself.